propriated by the boxer as phallic male. Finally, he looks at boxing as a means to reaffirm masculine values following two world wars and again as a form of masculine reaffirmation for middle-aged men over the last two decades. Scott concludes: "Boxing continues to hold a deep appeal for the masculine psyche, the charmed circle of the square ring exerting a fascination that for some can be exorcised only through a physical involvement within it" (138). The book's short chapters are augmented by a large number of impressive black and white prints of artistic boxing posters, paintings, photos (include several of the author in boxing gear), sculptures, antique vases, etc. These add to the book's collectability and, given its insistence on visual representation, to the book's readability, particularly for readers not steeped in the traditions of art history or boxing. In addition, a number of memorable quips from authors who share a fascination for boxing punctuate the book. My favorite may be this one by Gerald Early: "Boxing is a form of kitsch, which explains why so many intellectuals have been attracted to it" (131). The choice of works studied does seem a bit scattershot at times and
French Forum – University of Nebraska Press
Published: Oct 11, 2013
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